John Gedo inspires wild fantasies. If this book were an expression of a performing art, it could be a group of ballets: choreography by Petit Pas and Choo-San Goh, Schubert lieder, Brandon Marsalas at his mellowest, with sets by Bernini and Miro. Only such a repertoire of talent could accommodate the variety of The Biology of Clinical Encounters.

In contemporary psychoanalysis we are lucky to have our senior clinician-scholars and, despite numerous detractors, we are still doing something right. In any case, Gedo and other wizards, well beyond the distractions of ambition and vanity, animate the discipline by continuing to make trouble. Prowling through our literature and that of sister sciences, they keep asking embarrassing questions, confessing ignorance and confusion in spite of their